Shadowfax. Nice name for a progressive rock band. Named after Gandalf's a horse in Tolkien's The Lord Of The Rings. They are often classified as new age, but their first album really wasn't, it was rather quite like a more rocking version of Oregon and had a mixture of hard and soft songs. And really their latter albums weren't completely although they lost some of their harder edge and devoted themselves to more mellow fair. Their first album, "Watercourse Way", was recorded in 1975 and released in 1976 on the ABC/Passport label. This album may not have been well know among progressive music fans, but with its spectacular cover art and well crafted music, it was a treasured item in the collections of those that knew them at the time.

Piet Blank and Jaspa Jones - the producers known worldwide. For two they have let out already many albums and tens magnificent singles, reliably having fixed in world history of dancing music. Their hits more than once appeared at tops of charts, and each new album stably got to number 50 of the best to Germany. The first release which has left in 2003 of an album "Relax: Edition One" to a descent has occupied 22 place in charts of Germany, and a chill-miss the version of track Pet Shop Boys "Love Comes Quickly" from this album became the present hit.

2025 marks the 200th birthday of Johann Strauss, the world-famous "Waltz King" whose music has captivated audiences for two centuries. To celebrate this landmark anniversary, André Rieu - the planet's best-selling classical artist and global touring phenomenon - presents Thank You, Johann Strauss, an exclusive deluxe 3-CD and 1-DVD collection. This stunning release features André Rieu and his Johann Strauss Orchestra performing the Strauss family's most beloved works, including The Blue Danube, Kaiserwalzer, Roses from the South, Vienna Blood, Tales from the Vienna Woods, and the exhilarating Radetzky March. Each performance brims with elegance, energy, and the unmistakable joy that has made André Rieu a household name. The included DVD offers a visual feast, capturing the grandeur of Rieu's live performances - a proven driver for repeat viewing and gift appeal. Presented in a premium package, Thank You, Johann Strauss is a collector's item and a perfect impulse-buy for the holiday season. With a dedicated fanbase across all age groups, a powerful international marketing campaign, and the global appeal of Strauss's timeless melodies, this title is poised for strong retail performance. Ideal for classical aficionados, casual listeners, and gift buyers alike, it offers unbeatable value with 4 discs of unforgettable music and entertainment. Join the worldwide celebration of Strauss's 200th anniversary - stock Thank You, Johann Strauss and let your customers take home the magic of Vienna's golden era.

The sleepy, ambient pop of Brooklyn's Cigarettes After Sex found an unexpected flush of viral success in 2016 when the group's already four-year-old song, "Nothing's Gonna Hurt You Baby," started putting up massive eight-digit streaming numbers on YouTube. The project of Texas native Greg Gonzalez, Cigarettes After Sex's noir-ish imagery and languid odes to romantic obsession made them seem like unlikely candidates for such contemporary pop culture peaks, but the song and subsequent 2017 debut album nonetheless found a very receptive audience. Although the band's roots stretch back to 2008, their follow-up, Cry, is only their second full-length release and more or less follows the faded glamor of its predecessor.

Soundboard recording recorded live at the Rulsrock Festival, Turku, Finland 8/22/70. Includes 5 soundboard bonus tracks recorded live on BBC ‘Sounds Of The Seventies” at BBC Studios, London, UK 3/31/70 and live on Top Gear at BBC Studios, London, UK 6/30/69. All were radio broadcasts.

Rory Gallagher Even with a career cut short by illness and a premature death, guitarist, singer, and songwriter Rory Gallagher left his mark in the blues and rock worlds. His hard-charging, intensely rhythmic playing style on his 1961 Stratocaster still casts a long shadow over rock & roll: Queen's Brian May imitated not only his playing but his gear early on; he credits Gallagher with the root of his sound. Eric Clapton said it was Gallagher who got him "back into the blues." Johnny Marr acknowledges a great debt as well: After learning how to play the guitarist's classic Deuce album track-for-track at 13, he revealed Gallagher's influence throughout his career. Marr also said that he received mentorship and advice on his conduct on-stage and off. Even U2's the Edge and Slash sing his praises and credit his influence.

Having played straightforward hard rock with Mr. Big since the tail end of the '80s, bass virtuoso Billy Sheehan formed Niacin as an outlet for his jazz fusion and prog rock inclinations during the mid-'90s. The trio also featured keyboardist John Novello and drummer Dennis Chambers, both musicians who had crossed frequently between the worlds of jazz and rock during their careers. With Niacin, Novello devoted himself especially to the Hammond B-3 organ, a longtime mainstay of both jazz and prog rock.

Although universally acknowledged as a true musical genius, Ray Charles was equally a pioneer of a musical genre that flourished during the 1950s, almost exclusively due to his sonic experimentation and development of previous styles. Initially a jazz performer and musician, by the late 1940s Ray had seen enough as a sideman and ventured out under his own name. But it was his signing to Atlantic Records in 1952 which proved the catalyst for Ray Charles to pioneer a new style, soon to be labelled soul music. It was his fusion of R N B, blues, jazz, gospel, with a hint pop and country, that he would develop throughout the decade to create arguably the most dynamic, home grown American music genre in history. This 3 CD set contains every track Ray released during the 1950s - and thus provides the definitive collection of Ray Charles material, and therefore by definition, the ultimate early

Metallica is the definitive heavy metal band, the group that brought the gnarly underground sounds of thrash metal into the mainstream, then reshaped the contours of heavy music and hard rock once they became the biggest rock band in the world after the release of their self-titled "black album" in 1991. By that point, Metallica already had experienced enough upheaval for two careers. Emerging from the feverish metal underground of the early '80s, Metallica became a word-of-mouth sensation with their indie releases Kill 'Em All and Ride the Lightning, records that helped them land a contract with Elektra.

Lenny Kravitz is still obsessed with the '70s, and for good reason: he's found endless inspiration in the work of Sly Stone, Stevie Wonder, and a decade's worth of soul men. Kravitz hasn't lost the funk on 5, but the sound here drifts dangerously close to the Me decade's shallowest end, when disco seemed to rob R&B of its soul. So the passion Kravitz has shown on early albums is strangely diluted (aside from the album-closing epic "Can We Find a Reason?"). 5 is the singer's first foray into digital technology, but despite a few modern effects at the edges, he's doing essentially the same as before–only colder.

The second reunion album (and the sixth and final overall by the original lineup) sees WA return to conventional songs after 1987’s Nouveau Calls’ all instrumentals approach. It does not see them return to their classic style - like Nouveau Calls, HTH is a modern album, full of 80s adult contemporary sounds. However, it is much better than Nouveau Calls, like an update on Front Page News with its focus on light pop rock. HTH sports some great toe tappers such as Keeper Of The Light, with its Andy Powell guitar riff, shimmering production and hook-filled Martin Turner vocal. Witness To Wonder may be the softest of soft rock but gets away with it thanks to drummer Steve Upton’s atmospheric percussion and a gorgeous blend of chiming guitars and relaxing synths. There is an instrumental here in In The Case and it does sound like it could’ve been on Nouveau Calls but good work from Martin and Powell make it more charismatic…

An outstanding artiste on the Chicago musical scene, Carey, in addition to guiding his sons Lurrie, Steve and James towards the blues, did not fossilise his style into the urban one, but often enjoyed leaving the electric cage to perform acoustically in a duo. Although the results have been late in arriving, in spite of the occasional presence of famous musicians such as Louisiana Red, everything has changed after the issue of this CD. First of all the work is almost free of the usual standards, with the exception of ‘'Good Morning Little Schoolgirl’’ and ‘Stop Breaking Down’, and the parts between Bell and the guitarist/singer Spike Ravenswood (a linear and expressive partner, without instrumental egocentricities which are useless in the economy of work), are equally divided…

Mike Tramp, the unmistakable voice and principal songwriter of White Lion, concludes his heartfelt trilogy with 'Songs of White Lion Vol. III' - a powerful and deeply personal tribute to one of the most iconic bands of the 1980s melodic hard rock scene. In this final installment, Tramp revisits and reimagines ten more essential songs from the White Lion catalog, bringing them back to life with the passion, perspective, and authenticity that only decades of experience can deliver. Songs of White Lion is a trilogy of albums by Mike Tramp's White Lion featuring new re-recorded versions of White Lion songs, released via Frontiers Music.

Martin Carthy MBE (born 21 May 1941) is an English folk singer and guitarist who has remained one of the most influential figures in British traditional music, inspiring contemporaries such as Bob Dylan and Paul Simon, and later artists such as Richard Thompson, since he emerged as a young musician in the early days of the folk revival.

In his recording of Bach's 48 Colin Tilney, unlike his fellow competitors in the same repertory, plays both a clavichord (Book 1) and a harpsichord (Book 2). Why not? Bach's title for the first book of 24 preludes and fugues, The Well-tempered Clavier leaves both this issue and that of tuning wide open. The clavichord was a favourite instrument of Bach's, so was the harpsichord and the organ; indeed, I am sorry that Tilney does not include a chamber organ since some of the pieces, the E major Prelude and Fugue (Book 2), for instance, seem well-suited to it. Tilney's performance of the 48 differs again from almost if not all others in the sequence which he adopts in playing the preludes and fugues. But an apparently random approach is in fact nothing of the kind, but one that is directly linked with tuning. We know that Bach himself was a master in matters of tuning as he was in all other aspects of his craft. What we do not know is the exact nature of his tuning.